Raul Lino (b. 1879 – d. 1974) went to a school near Windsor in England, at the age of eleven, and then continued on to Hannover in Germany. In Hannover he attended the Handwerker und Kunstgewerbeschule, had theoretical classes in the Technische/Hochschule and practical classes at the studio of Professor A. Haupt, where he became acquainted with the modern currents of renovation of the turn of the century. This education was responsible for his being an exception in Portugal’s cultural life at the time: instead of Paris and Art Nouveau, his interests were directed to the Modern Style with its German-Austrian and British roots. This line of study led him to take an interest not only in decoration as applied to construction but also in the decorative arts themselves, and he paid particular attention to the problems of function and form. In this pattern, dated 1915, although this is actually a 1970s replica, he applied his taste for linear, geometric and two-dimensional ornamentation where we can sense a reference to trees, although somewhat at a distant in terms of representation. The way in which the elements appear in the pattern module call to mind the traditional chequered composition of Portuguese azulejo ware of the late 16th, early 17th century. Here they are organised in powerful ascending lines which are no doubt linked to a very personal symbolic meaning. To this day this pattern is still a very modern work in the language it employs, so that it is important to nderline its author’s vision, for he created it at a time when Portuguese azulejo production was dominated by the Art Nouveau productions of Rafael Bordalo Pinheiro (b. 1846 – d. 1905) and the historicism of Jorge Colaço (b. 1868 – d. 1942).